Films like stones,
stones like films

Films like stones by Valentin Via

From Warburg's Leitfossil to an Atlas of stones. 
The geology of cinema, the collective (post)memory, the (re)created landscape, the horizon.
Connections between geological layers, archeology of memory. And Images. 
From Spiral Jetty (1970), Robert Smithson's work filmed on film without a camera Salt Crystals Spiral Jetty Dead Sea Five Year Film (2013) by Jennifer West. 
Materiality, medium and devices. From The Stones of Roger Caillois to the filmed glacier of Chamonix by the Lumières, previously painted by Turner in 1816. 
Geological layers and their movement by scientific illustrations by Orra White Hitchcock.
The rocks and mountains of the contemporary work of the American filmmaker Eva Kolcze through the work Eroded pyramid (2019) by the Colectivo Los Ingrávidos 
or the digital piece of Climbing (2011) by Jess McLean. 
The stones are witnesses and can tell us about a time. 
They are the present and they capture a past, they are a surviving image. 
Images like fossils are witnesses of time, change and their exhaustion. They are alive. 
They are buried like images and are permeable to light. All over. 
How to materialize this contemporary Mnemosyne Atlas
They belong to an ecology of the image but they are also geology of the environment. 
A filmed stone can be filmed by a part of it, of its mineral, since the film device is composed of these minerals.
Jussi Parikka and the A Geology of Media. What exhibition space does these stones belong to? 
This investigation (and necessary materialization) is a starting point to a meta-referentiality of the stones in relation to their referent 
when they are filmed and their symbolism as a fossil-film.



Olatz Ovejero

She will talk about the film creation processes through making of a collective herbarium of the Mas Maurici, made jointly with all the participants of this edition. This is how it dialogues with the creative process with preservation, touch, observation and search in the around.

Eloísa Suárez

We will project a carte blanche in two directions, between two meetings on contemporary cinema. We have co-curated a night with the concept of PELIS COMO PIEDRAS / PIEDRAS COMO PELIS. Eloísa came to the first edition and its Cine Cauce project was born from a need such as our. Alternative exhibition and meeting spaces between cinema and other arts.

El Club de Piedras

It is a meditation and drawing gym. It is the only gym in world that promises to give you your money back if you feel lame. Still well, reality is hard: abs, drawing and meditation. They are only possible if you commit to the practice. And here is the Club to make it fun, because another truth like a temple is that if not you have a good time, there is no commitment.

Andrea Sánchez

She will screen his first short film Frialdad in a carte blanche session between Cine Cauce and Casa de Lava. It will make up a session of four short films that will expand and cross the representation of the mountain, the archive and film genres towards other vanishing points.

Belén Soto

Proposes readings aloud along with the projection of a  super8 reel that she hasn't seen in its entirety yet. The readings are fragments of his book pasarás a despedirte?, published this year by  Blatt y Ríos España; the movie is one of those that has ended 
inheriting from his grandfather, whom he does not have much appreciation for but whom  appreciate that record. His father dedicated one day to digitizing the  parts that interested him the most, and thanks to that he was able to look at his past, at their land, to some joys and cruelties that forge their heritage affective. Years after seeing the digitizations he wrote a story which is now part of the book: that will be the end of the readings.

Julián Garay

On the first night of the screening, we will have the artist Julián Galay who will present his work, Un silencio sísmico (2023) and who will accompany in a double session the feature film Río Turbio (2020) by Tatiana Mazú and of which he himself made the sound design. Un silencio sísmico will be the first screening of all of this edition and we will have its director to generate a first dialogue with the stones and the cinema; its possibilities and impossibilities of representation, its approach to matter and absence.

Joana Moya

 proposes a body activation with Volverse microscópico. How to understand rocks as living systems; how to get into its structures, its movement and its time, working through our body and its different scales and possibilities.


will participate in Volverse microscópico with a sound activation, coming from his personal archive and which he has spent time developing and re-discovering, based on previous sound projects.


Amijima by Jorge Suárez-Quiñones (SPAIN, 2016, 55’)
Río Turbio by Tatiana Mazú (ARG, 2020, 82’)
Un silencio sísmico by Julián Garay (ARG, 2023, 19’)
Frialdad by Andrea Sánchez (SPA, AND, 2024, 14’)
Carne de mi carne: entraña by María Alcaide (SPAIN, 2021, 35’)
Unreleased Super8 footage of Belén Soto.

Core by Maddi Barber and June Crespo (SPAIN, 2022, 21’)


Les trobades de no-ficció en camp obert, no la pel·lícula.
Los encuentros de no-ficción en campo abierto, no la película.
The non-fiction encounters in the countryside, not the movie.

T-11, KM 0.
Riudoms, Tarragona


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